|Get it? It's a table...of....um...contents.|
In surveying these two considerable careers, I've now seen the sizable task in front of me. So what I've done is divide up their professional time into chapters, which will in turn allow me to compare and contrast with a little bit of control over the scope.
Behold, the table of contents:
Chapter 1 shows these two stalwarts in training -- Ruth in the minors and Hitchcock as a screenwriter and art director -- then continues on to their rookie efforts.
Chapters 2 through 5 highlight their less remembered early successes; I match Thirty-Nine Steps with Ruth's 1918 and his 1919 with The Lady Vanishes.
Chapter 6 documents both men changing teams (UK to US, Boston to New York) and the sensations they created on their arrivals.
Chapters 7 through 12 track their early prime. I've matched up Ruth's 1923 with Hitch's Rope, 1924 with Strangers on a Train, and 1926 with Rear Window.
Chapter 13 rhymes Vertigo with Murderer's Row.
Chapters 14 through 19 detail their late prime and gradual descent. And chapter 20 will close their careers. These men didn't end on their biggest successes, so I'll provide a concluding post to brighten the subject up a little bit.
Giving the table a cursory look, yes, it's a little top-heavy (in honor of the subjects themselves?), but I've gotten a small headstart on the early Hitchcock films. If I find a gem that's enjoyable to discuss, a chapter may be extended to a second post. Also, once these gentlemen have entered their prime, I'd like to focus a little closer on some of Sir Alfred's individual productions.
So tune in next Tuesday for Chapter 1: When Boys Leave Home.
|Look! Another table of......yeah, yeah, yeah, I'm going.|